Lucinda Williams

Lucinda Williams - Little Honey (2008) {Lost Highway Records}
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© 2008 Lost Highway Records / Universal | B001143402
Americana / Folk / Country / Alternative Folk / Alternative Country Rock

Lucinda Williams does anguish so well it’s easy to forget that Happy Woman Blues is not just the title of her 1980 album, but also the way she thinks of herself. That identity comes across full force in Little Honey, the follow-up to 2007’s heavily brooding West, where her melancholy voice seemed to creak with sadness. Here, a full-throated Williams revels in the rejuvenation of her engagement to her manager/co-producer Tom Overby, over whom she’s positively giddy on "Real Love." Her newfound bliss opens the floodgates to a musical revival, as well, since Little Honey, her ninth studio album, ranks as one of her most diverse, ranging from pounding rock ‘n’ roll (the raw sex of the title track) to the Hank Williams-ish country blues of "Well, Well, Well," to "Knowing"'s ‘60s soul. But some of the finest writing appears on "Plan to Marry," as thoughtful a meditation on love as any time-honored sonnet. Just when Williams seems to have run the gamut, she pulls out a Stones-y (via Louisiana) cover of AC/DC’s "It’s a Long Way to the Top" as the punctuation mark. It all makes for a rollicking ride with one of roots-rock's most unpredictable and passionate artists.

Lucinda Williams - Blessed (2011) [2CD] {Lost Highway Records Deluxe Edition}
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© 2011 Lost Highway Records / Universal | B0015240-02
Americana / Alternative / Alternative Country Rock / Singer/Songwriter

Blessed, the stunning new album from three-time Grammy Award-winner Lucinda Williams is set for release on March 1st 2011 by Lost Highway. Considered by many to be one of America's greatest living songwriters, Williams lives up to that and more by delivering 12 new songs that cover an even wider emotional spectrum than her previous work, without moving too far in any one direction. Blessed opens with the gritty kiss-off "Buttercup" then moves seamlessly into the sultry blues of "Born To Be Loved". Williams delves into a heavier subject as she questions the motives for a suicide on the hard-driving "Seeing Black", which features blistering guitar from Elvis Costello. The thoughtful title track slowly builds to a melodic climax as it offers an eye-opening look at what's right in front of us, but too often unnoticed.

While many considered Car Wheels on a Gravel Road and Essence as definitive statements of arrival for Lucinda Williams as a pop star, she "arrived" creatively with her self-titled album in 1988 and opened up a further world of possibilities with Sweet Old World. The latter two records merely cemented a reputation that was well-deserved from the outset, though they admittedly confused some of her earliest fans. World Without Tears is the most immediate, unpolished album she's done since Sweet Old World…

Lucinda Williams - Ramblin' (1978) {Smithsonian/Folkways Recordings CD SF 40042 rel 1991}
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© 1978, 1991 Smithsonian/Folkways Recordings | CD SF 40042
Blues / Country Music / Folk Songs - United States / Folksong Revival / Rock Music

The first recordings from an artist with a gift for interpreting original blues from Robert Johnson to Memphis Minnie to The Carter Family. Williams’s unmistakable sound is powerfully direct and filled with melancholy and passion. 43 minutes. "The quintessential recording of Lucinda Williams…. An unbelievably soulful…vocalist."–Montana State University Exponent.

Between her well-documented determination to retail full control of her music and the plain-spoken willfulness of her best-known songs, Lucinda Williams is practically the working definition of a strong woman you do not want to mess with, but she reveals a very different side of her musical personality on her sixth album, Essence…

Lucinda Williams - Live @ The Fillmore (2005) [2CD] {Lost Highway Records}
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© 2005 Lost Highway Records / Universal | B0002368-02
Americana / Folk / Country / Alternative Folk / Alternative Country Rock

Lucinda Williams has earned a reputation for her meticulous approach to making albums, but a careful listen to her work suggests that she isn't trying to make her music sound perfect, she just wants it to sound right, and she isn't afraid to spend the extra time waiting for the charmed moment to get caught on tape. This attitude seems to be borne out in her first-ever concert album, Live @ The Fillmore, which manages to sound carefully considered, and a model of "warts and all" authenticity at the same time.